457 


YH  CIM8 


Wsr 


UC-NRLF 


M. 


LINCOLN  IN 
CARICATURE 


I 


RICHARD  S.WORMSER 


IN  M.EMOEIAM. 

ALEXANDER  GOLDSTEIN 


! 


LINCOLN  IN 

CARICATURE 


BY 

RUFUS    ROCKWELL  WILSON 

\  \ 

AUTHOR    OF 

"WASHINGTON:    THE  CAPITAL  CITY" 


Illustrated  With  Thirty-two  Plates 


PRINTED  FOR  PRIVATE  DISTRIBUTION 
1903 


W5 


IN  MEMORIAM     -      ff/e>/We«_ 


Copyright,    1903 

by 
RUFUS   ROCKWELL  WILSON 


LINCOLN  IN  CARICATURE 


INCOLN  in  caricature  is  a  phase  of  the  career  of  the  great  war  Presi 
dent  that  has  thus  far  lacked  adequate  treatment.  Yet  he  was  the  most 
bitterly  assailed  and  savagely  cartooned  public  man  of  his  time,  and 
one  has  only  to  search  the  newspapers  and  periodicals  of  that  period 
to  find  striking  confirmation  of  this  fact.  The  attitude  of  Great 
Britain  toward  the  Union  and  its  President  was  then  one  of  cynical  and  scarcely 
veiled  hostility,  and  nowhere  were  the  sentiments  of  the  English  government  and 
of  the  English  masses  more  faithfully  reflected  than  in  the  cartoons  which  appeared 
in  London  Punch  between  1861  and  1865,  many  of  which  had  Lincoln  for  their 
central  figure.  He  was  also  frequently  cartooned  in  Vanity  Fair  the  American 
counterpart  of  Punch  ;  in  Frank  Leslie's  Illustrated  Newspaper,  and  in  Harper's  Weekly. 
Indeed,  nowhere  were  the  changing  sentiments  of  the  people  of  the  North,  their  likes 
and  dislikes,  their  alternates  hopes  and  fears,  their  hasty,  often  unjust  judgments  of 
men  and  measures,  more  vividly  reflected  than  in  the  cartoons  dealing  with  Lincoln 
which  appeared  in  the  last  named  journal  during  the  epoch-making  days  of  his  Presi 
dency.  Thus  the  thirty-two  plates  from  these  sources  here  brought  together  have  a 
value  and  interest  already  important  and  sure  to  increase  with  the  passage  of  time,  for 
they  reflect  with  unconscious  vividness,  and  as  nothing  else  can  do,  the  life  and  color 
of  an  historic  era,  and  how  his  fellows  regarded  the  grandest  figure  of  that  era.  It  is 
with  their  value  as  human  documents  in  mind  that  they  have  been  rescued  from  their 
half-forgotten  hiding  places,  and  assembled  in  chronological  sequence,  with  such  com 
ment  as  may  be  necessary  to  make  their  purpose  and  meaning  clear  to  older  men, 
whose  memory  may  have  grown  dim,  as  well  as  to  the  new  generation  that  has  come 
upon  the  stage  in  the  eight  and  thirty  years  that  have  elapsed  since  the  close  of  the 
Civil  War. 

Plate  Number  One — This  cartoon,  "  Lincoln  a  la  Blondin,"  which  appeared 
in  Harper's  Weekly,  on  August  25,  1860,  seems  to  have  been  suggested  by  Blondin's 
crossing  of  Niagara  on  a  tight  rope  with  a  man  on  his  back — an  event  then  fresh  in 
the  public  mind.  It  also  recalls  an  interesting  phase  of  Lincoln's  first  campaign  for 
the  Presidency,  which  had  its  origin  in  a  characteristic  incident  of  the  candidate's  earlier 
years.  It  was  in  March,  1830,  that  Lincoln,  at  that  time  a  youth  of  twenty-one,  re 
moved  with  his  father  and  family  from  Indiana  to  Illinois,  locating  on  the  bluffs  of 
the  Sangamon  River  about  ten  miles  from  Decatur.  There  he  and  his  kinsman,  John 

3 


M5M67 


rHanks,  built  a  hewed  log  house,  and  broke  fifteen  acres  of  prairie  sod  with  the  two 
yoke  of  oxen  they  had  driven  from  Indiana.  They  then  felled  the  trees,  cut  off  the 
'logs,  and  with  mauls  and  wedges  split  the  rails  to  fence  in  the  land  they  had  broken. 
The  following  winter,  the  winter  of  the  "  deep  snow  "  as  it  was  known  in  Illinois, 
Lincoln  alone  made  three  thousand  rails  for  a  neighbor,  walking  three  miles  each  day 
to  do  it.  The  Republican  state  convention  of  Illinois  assembled  at  Decatur  on  May 
9,  1 860,  and  the  first  act  of  its  chairman  was  to  invite  Lincoln,  who  was  modestly  seated 
in  the  body  of  the  hall,  to  a  seat  upon  the  platform.  An  eye-witness  describes  the 
scene  that  followed  as  one  of  tumultuous  enthusiasm.  No  way  could  be  made  through 
the  shouting  throng,  and  Lincoln  was  borne  bodily,  over  their  heads  and  shoulders, 
to  the  place  of  honor.  Quiet  restored,  the  chairman  again  arose  and  said  : 

"  There  is  an  old  Democrat  outside  who  has  something  he  wishes  to  present  to 
this  convention." 

Then  the  door  of  the  hall  swung  open,  and  a  sturdy  old  man  marched  in, 
shouldering  two  fence-rails,  surmounted  by  a  banner  inscribed,  in  large  letters  : 

"  Two  rails  from  a  lot  made  by  Abraham  Lincoln  and  John  Hanks  in  the  Sanga- 
mon  Bottom,  in  the  year  1830." 

The  bearer  was  John  Hanks  himself,  and  he  had  come  to  do  his  part  in  making 
his  old  friend  President.  "It  was  an  historic  scene  and  moment.  In  an  instant 
Lincoln,  the  rail-splitter,  was  accepted  as  the  representative  of  the  working  man  and 
the  type  and  embodiment  of  the  American  idea  of  human  freedom  and  possible  human 
elevation.  The  applause  was  deafening.  But  it  was  something  more  than  mere  ap 
plause,"  for  there  was  no  opposition  afterwards,  to  a  resolution  that  declared 
Lincoln  to  be  the  first  choice  of  the  Republicans  of  Illinois  for  President,  and  in 
structed  the  delegates  to  the  national  convention  to  cast  the  vote  of  the  State  as  a  unit 
for  him.  It  is  a  part  of  history  how  the  tidal  wave  of  enthusiasm  behind  this  resolu 
tion  swept  from  Decatur  to  Chicago,  and  thence  over  the  country. 

Plate  Number  Two— This  cartoon,  "  The  Inside  Track,"  published  in  Vanity 
Fair,  on  March  a,  1861,  has  for  its  motive  the  popular  doubt  and  incertitude  attending 
the  make-up  of  the  Cabinet  and  the  policy  of  the  new  Administration  toward  the 
South.  The  President-elect  is  shown,  with  a  doubtful  expression  on  his  face,  flanked 
on  either  side  by  Thurlow  Weed,  who  is  drawn  to  represent  a  western  river  gambler 
of  the  period,  and  William  H.  Seward,  while  Horace  Greeley,  their  sworn  political 
foe,  thrusts  his  head  through  the  door  in  time  to  hear  Weed  remark  impressively : 
"  Trust  to  my  friend  Seward — trust  to  us.  We'll  compromise  this  little  difficulty  for 
you.  But  trust  to  us.  Gentlemen  from  the  country  are  often  swindled  by  un- 

4 


principled  sharpers.  Trust  to  us."  Seward,  as  we  know,  became  Lincoln's  Secretary 
of  State,  and  Weed  one  of  his  trusted  advisers,  while  the  editor  of  the  Tribune  re 
mained  until  the  end  a  thorn  in  the  side  of  the  President. 

Plate  Number  Three — This  cartoon,  "  The  Flight  of  Abraham,"  published 
in  Harper's  Weekly ',  on  March  9,  1861,  holds  up  to  ridicule  Lincoln's  memorable 
secret  journey  from  Harrisburg  to  Washington,  but  its  point-of-view  is  a  mistaken  one. 
Lincoln's  advisers  had  good  grounds  for  believing  that  there  existed  a  plot  to  murder 
him  during  his  passage  through  Baltimore,  and  every  consideration  forbade  needless 
risk.  The  trip  across  Maryland  was,  therefore,  made  suddenly  and  in  private,  but 
there  was  no  attempt  at  personal  disguise,  as  the  cartoon  infers,  nor  any  undignified 
concealment  on  the  part  of  Lincoln  or  the  friends  who  accompanied  him. 

Plate  Number  Four — This  cartoon  "Winding  Off  the  Tangled  Skein,"  pub 
lished  in  Harper's  Weekly,  on  March  30,  1861,  recalls  the  days  of  doubt  and  wait 
ing  which  preceded  the  firing  on  Sumter  and  the  first  call  for  troops. 

Plate  Number  Five — This  cartoon,  "  The  Spirit  of  '76,"  published  in  Vanity 
Fair,  on  May  4,  1861,  breathes  the  spirit  which  prompted  the  great  uprising  of  the 
North  when  the  truth  was  brought  home  to  its  people  that  a  war  between  the  sections 
was  not  to  be  avoided.  It  shows  the  President  watering  a  flower  bed  with  the  "  Spirit 
of  "76,"  and  remarking  to  Columbia,  who  watches  his  work  :  "  Ain't  there  a  nice  crop  ! 
There's  the  hardy  Bunker  Hill  flower,  the  Seventh  Regiment  pink,  the  firebug  tulip. 
That  tri-colored  flower  grows  near  Independence  Hall.  The  western  blossoms  and 
prairie  flowers  will  soon  begin  to  shoot." 

"What  charming  plant  is  this?"  asks  Columbia,  pointing  to  a  miniature 
gallows. 

"That  is  rare  in  this  country,"  answers  the  President.  "It  will  blossom  soon 
and  bear  the  Jeffersonia  Davisiana." 

Plate  Number  Six — This  cartoon,  "  The  Situation,"  published  in  Harper's 
Weekly,  on.  July  13,  1 86 1,  reminds  one  that  the  advocates  of  compromise  were 
numerous  and  noisy  until  well  toward  the  close  of  the  war.  Here  Lincoln  is  depicted 
as  a  constable  in  the  act  of  arresting  Davis.  "  I've  got  you  now,  Jeff","  are  his  words 
as  he  lays  hold  of  his  prisoner.  "Guess  you  have,"  is  the  reply  of  Davis.  "Well, 
now  let  us  compromise." 

Plate  Number  Seven — This    cartoon,  "  Got   the  Right  Weapon  at   Last," 

5 


published  in  Harper's  Weekly,  on  October  19,  1861,  has  for  its  subject  the  first  of  the 
national  loans  which  assured  a  successful  prosecution  of  the  greatest  war  in  history. 
Jay  Cooke,  who  still  lives,  was  the  agent  through  whose  patriotic  and  sagacious  efforts 
most  of  these  loans  found  takers,  and  he  it  was  to  whom  Grant,  in  the  closing  days  of 
the  war,  sent  this  message:  "  Tell  him  for  me  that  it  is  to  him  more  than  to  any  other 
man  that  our  people  will  be  indebted  for  the  continued  life  of  the  nation." 

Plate  Number  Eight — This  cartoon,  without  title,  published  in  Vanity  Fair, 
on  November  16,  1861,  has  for  its  subject  the  Union's  relations  with  foreign  powers. 
It  depicts  the  President,  guarding  with  sword  and  cannon  a  pond  filled  with  trout  (the 
Confederacy)  in  which  three  boys — England,  France  and  Spain — are  anxious  to  cast 
their  lines.  "  Boys,  I  reckon  I  wouldn't,"  is  his  significant  comment. 

Plate  Number  Nine — This  cartoon,  "Up  a  Tree — Colonel  Bull  and  the 
Yankee  Coon,"  was  published  in  Punch  on  January  1 1,  1 862.  The  artist,  whose  point- 
of-view  is  one  of  contemptuous  ridicule,  inspired  by  the  Mason  and  Slidell  incident,  and 
having  in  mind  Davy  Crockett's  familiar  story  of  Colonel  Scott  and  the  coon,  depicts 
that  animal  with  the  head  of  Lincoln,  crouched  on  the  limb  of  a  friendly  tree,  and 
gazing  furtively  down  on  John  Bull,  armed  with  a  blunderbuss  and  about  to  fire, 
whereat  the  following  dialogue  ensues: 

Coon — "Air  you  in  arnest,  Colonel?" 

Colonel  Bull— "I  am." 

Coon— "Don't  fire— I'll  come  down." 

Plate  Number  Ten — This  cartoon,  "Sinbad  Lincoln  and  the  Old  Man  of  the 
Sea,"  published  in  Frank  Leslie  s  Illustrated  Newspaper,  on  May  3,  1862,  shows 
the  President  as  Sinbad  carrying  on  his  shoulders  the  Old  Man  of  the  Sea — Gideon 
Welles,  whose  course  as  Secretary  of  the  Navy  was  then  the  cause  of  much  ill-natured 
comment.  We  had  no  navy  when  the  war  began,  and  Welles  had  to  create  one.  His 
way  of  doing  it  provoked  much  opposition,  but  he  had  always  the  confidence  of  the 
President,  and  so  good  a  judge  as  the  late  Charles  A.  Dana  has  told  us  that  though 
"there  was  no  noise  in  the  street  when  he  went  along,  he  was  a  wise,  strong  man,  who 
understood  his  duty,  and  who  was  patient,  laborious  and  intelligent  at  his  task."  The 
generous  growth  of  hair  which  the  artist  has  given  Welles  was  not  his  own.  Instead 
he  wore  a  wig,  which  was  parted  in  the  middle,  the  hair  falling  down  on  each  side,  and 
it  was,  perhaps,  from  his  peculiar  appearance  that  the  idea  originated  that  he  was  old- 
fashioned  in  his  methods. 

Plate  Number  Eleven — This  cartoon,  "The  New  Orleans  Plum,"  published 

6 


in  Punch  on  May  24,  1862,  deals  with  the  capture  of  that  city,  and  with  it  the  mouth 
of  the  Mississippi — one  of  the  first  decisive  victories  of  the  war.  The  artist,  bor 
rowing  from  the  old  nursery  tale,  showed  Lincoln  seated  in  a  corner  and  plucking  a 
plum  from  the  generous  pudding  in  his  lap.  Possibly  for  fear  that  his  design  might 
not  be  perfectly  clear  to  the  British  mind,  the  artist  appended  to  it  the  legend:  "Big 
Lincoln  Horner,  up  in  a  corner,  thinking  of  humble  pie,  found  under  his  thumb,  a 
New  Orleans  plum,  and  said,  'What  a  cute  Yankee  am  I!"1 

Plate  Number  Twelve — This  cartoon,  "The  Latest  from  America,"  pub 
lished  in  Punch  on  July  26,  1862,  aims  to  make  light  of  the  war  news  sent  out  from 
New  York  at  that  time.  The  President  is  represented  as  a  bar-tender,  standing 
behind  a  bar  on  which  are  bottles  inscribed  "Bunkum,"  "Bosh"  and  "Brag,"  and 
shifting  a  concoction  labelled  "The  New  York  Press"  from  the  glass  of  Victory  to 
that  of  Defeat. 

Plate  Number  Thirteen — This  cartoon,  "The  Overdue  Bill,"  published  in 
Punch,  on  September  27,  1862,  has  for  its  motive  the  Union's  crying  need  of  men  and 
money.  The  President  is  shown  seated  at  a  desk,  with  hands,  as  usual,  thrust  into 
his  pockets,  glancing  discomfitedly  at  a  paper  inscribed  "I  promise  to  subdue  the  South 
in  ninety  days — A.  Lincoln,"  held  out  to  him  by  a  Confederate  soldier,  who  says 
"Your  ninety  days'  promissory  note  isn't  taken  up  yet,  sirree!"  It  would  have  been 
more  fitting  to  have  made  Seward  the  central  figure  in  this  cartoon,  for  it  was  Lincoln's 
Secretary  of  State,  and  not  the  President  himself,  who  was  loudest  in  proclaiming  that 
the  war  would  end  in  three  months.  It  is  worth  recording  that  Seward  when  questioned 
in  after  years  by  a  friend  as  to  the  reasons  which  prompted  this  famous  prediction  of 
his,  at  first  declined  to  give  an  answer,  but  finally  said  that  he  believed  at  the  time 
that  if  the  South  did  not  give  in  within  ninety  days  the  North  would. 

Plate  Number  Fourteen — This  cartoon,  "What  will  He  do  with  Them?" 
published  in  Vanity  Fair,  on  October  4,  1862,  heralds  the  forthcoming  Emancipation 
Proclamation,  the  President  being  pictured  as  a  vagrom  bird-peddler,  whom  an 
absence  of  customers  impels  to  the  remark:  "Darn  these  here  black-birds.  If 
nobody  won't  buy  'em  I'll  have  to  open  the  cages  and  let  'em  fly."  This 
design  recalls  an  historic  Cabinet  meeting  held  on  the  Saturday  following  the  battle 
of  Antietam,  which  cut  short  Lee's  invasion  of  the  North  and  compelled  him  to  recross 
the  Potomac.  The  members  of  the  Cabinet  were  summoned,  on  this  occasion,  not  to 
give  advice  but  to  hear  a  decision.  The  President  told  them  that  the  hour  for  delay 
had  passed,  and  that  the  time  had  come  to  make  the  emancipation  of  the  slaves  the 

7 


declared  policy  of  the  Administration.  Public  sentiment  would  now  sustain  it.  A 
strong  and  outspoken  popular  voice  demanded  it,  and  the  demand  came  from  the  best 
friends  of  the  government.  "And  I  have  promised  my  God  that  I  would  do  it,"  added 
the  President,  reverently  and  in  a  low  voice.  "Did  I  understand  you  correctly,  Mr. 
President?"  asked  Secretary  Chase,  who  had  heard  but  indistinctly  the  low-voiced 
utterance.  "I  made  a  solemn  vow,  before  God,"  was  the  answer,  "that  if  General 
Lee  should  be  driven  back  from  Pennsylvania,  I  would  crown  the  result  by  the 
declaration  of  freedom  to  the  slaves."  And  he  did. 

Plate  Number  Fifteen — This  cartoon,  "Lincoln's  Last  Warning,"  published 
in  Harper's  Weekly,  on  October  n,  1862,  also  deals  with  the  subject  of  emancipation. 
The  President  is  depicted  about  to  apply  the  axe  to  the  tree  of  slavery,  and  saying  to 
Davis,  who  is  crouching  in  its  branches:  "If  you  don't  come  down,  I'll  cut  the  tree 
from  under  you." 

Plate  Number  Sixteen — This  cartoon,  "Keep  on  the  Track,"  published  in 
Vanity  Fair,  on  November  22,  1862,  has  to  do  with  the  result  of  the  congressional 
elections  of  that  year.  Here  the  President  is  made  to  do  duty  as  a  locomotive  engineer 
and  to  remark  to  his  fireman  (Secretary  Seward),  who  is  staggering  under  a  load  of 
fagots,  each  inscribed  "Democratic  Majority:"  "I've  got  the  right  fuel  now  and  I 
guess  I  can  keep  her  steady.  Chuck  in  more,  William." 

Plate  Number  Seventeen — This  cartoon,  without  title,  published  in  Harper  s 
Weekly,  on  January  3,  1863,  was  prompted  by  the  fearful  Union  slaughter  at  Fred- 
ericksburg.  Columbia  confronts  the  President  and  demands  an  accounting  for  the 
thousands  slain  in  that  conflict.  "This  reminds  me  of  a  little  joke,"  Lincoln  is  made 
to  say.  "Go,"  is  the  angry  rejoinder,  "tell  your  joke  at  Springfield."  Which  calls  to 
mind  a  story  told  the  writer  by  the  late  Governor  Curtin  of  Pennsylvania.  It  was 
after  the  battle  of  Fredericksburg,  and  Governor  Curtin  had  gone  to  the  front  to  look 
after  his  State's  dead  and  wounded  in  person.  While  thus  engaged  he  received  a  telegram 
from  Lincoln  bidding  him  come  to  Washington.  He  responded  at  once,  and  reaching 
the  White  House  late  in  the  evening  found  that  the  President  had  retired.  Seated  by 
the  latter's  bedside,  he  told  what  he  had  seen.  "It  was  not  a  battle,"  said  he;  "it  was 
a  slaughter.  Many  of  the  wounded  have  received  no  attention,  and  thousands  of  the 
dead  are  still  unburied.  From  the  bottom  of  my  heart,  Mr.  President,  I  wish  we 
could  find  some  way  of  ending  this  war." 

Lincoln  listened  patiently,  but  with  manifest  anxiety,  to  the  Governor's  statement. 
When  it  was  finished,  he  said: 

8 


"Curtin,  it's  a  big  job  we've  got  on  hand.  It  reminds  me  of  what  once  happened 
to  the  son  of  a  friend  of  mine  out  in  Illinois.  There  was  an  apple-tree  in  the  old 
man's  orchard  of  which  he  was  especially  choice,  and  one  day  in  the  fall  his  two  boys, 
John  and  Jim,  went  out  to  gather  the  apples  from  this  tree.  John  climbed  the  tree 
to  shake  the  fruit  off,  while  Jim  remained  below  to  gather  it  as  it  fell.  There  was  a 
boar  grubbing  in  the  orchard,  and  seeing  what  was  going  on,  it  waddled  up  to  the  tree 
and  began  to  eat  the  falling  apples  faster  than  Jim  could  gather  them  from  the  ground. 
This  roiled  Jim,  and  catching  the  boar  by  the  tail  he  pulled  vigorously,  whereat  the 
latter,  with  an  angry  squeal,  began  to  snap  at  his  legs.  Afraid  to  let  go,  Jim  held  on 
for  dear  life,  until  finally,  growing  weary,  he  called  to  his  brother  to  help  him.  John, 
from  the  top  of  the  tree,  asked  what  was  wanted.  'I  want  you,'  said  Jim,  between  the 
rushes  of  the  boar,  '  to  come  down  here  and  help  me  to  let  go  of  this  darned  hog's 
tail.'  And  Curtin,"  added  the  President,  "that's  just  what  I  want  of  you  and  the  rest: 
I  want  you  to  pitch  in  and  help  me  let  go  of  the  hog's  tail  I  have  got  hold  of." 

Before  beginning  this  story  Lincoln  had  been  deeply  depressed.  When  it  was  finish 
ed  he  laughed  as  heartily  as  did  his  auditor,  and  seemed  instantly  to  recover  his  wonted 
spirits.  "Pardon  me,  Mr.  President,"  said  the  Governor,  prompted  by  this  change  of 
mood,  "but  is  not  this  story-telling  habit  of  yours  a  sort  of  safety  valve  for  you?'' 

"You  have  hit  it,  Curtin,"  was  the  quick  reply.  "If  I  could  not  tell  these 
stories  I  think  I  should  die." 

Plate  Number  Eighteen — This  cartoon,  published  in  Harper's  Weekly,  on 
January  10,  1863,  also  reflects  the  resentment  provoked  by  the  Fredericksburg  fiasco, 
for  which  General  Halleck  and  Secretary  Stanton  were  at  first  held  responsible  in  the 
popular  mind.  Lincoln  is  shown  holding  these  officials  over  the  side  of  the  Ship  of 
State.  "Universal  Advice  to  Abraham — Drop  "Em,"  was  the  significant  legend 
appended  to  this  cartoon. 

Plate  Number  Nineteen — This  cartoon,  "Scene  from  the  American  Tem 
pest,"  published  in  Punch,  on  January  24,  1863,  was  prompted  by  the  final  Proclam 
ation  of  Emancipation,  issued  on  the  first  day  of  that  year.  The  President,  clad  in 
the  uniform  of  a  Union  soldier,  hands  a  copy  of  his  proclamation  to  a  grinning  negro, 
who  points  to  a  glowering  Confederate  in  his  rear  and  says :  "You  beat  him  'nough, 
Massa!  Berry  little  time,  I'll  beat  him  too." 

Plate  Number  Twenty — This  cartoon,  without  title,  was  published  in  Harper's 
Weekly,  on  May  16,  1863.  It  deals  with  the  underlying  cause  of  England's  unfriendly 
attitude  toward  the  Union — the  sudden  shutting  off  of  the  supply  of  raw  material  for 

9 


her  cotton  mills.  Lincoln  leans  on  a  cannon  and  confronts  John  Bull  in  plaintive  mood. 
"Hi  want  my  cotton  bought  at  fi'pence  a  pound,"  pleads  the  Briton.  "Don't  know 
anything  about  it,  my  dear  sir,"  is  the  curt  reply.  "  Your  friends  the  rebels  are  burn 
ing  all  the  cotton  they  find,  and  I  confiscate  the  rest.  Good  morning,  John." 

Plate  Number  Twenty-one — This  cartoon,  "Right  at  last,"  was  published 
in  Frank  Leslie  s  Illustrated  Newspaper,  on  June  13,  1863.  Grant  was  still  hammering 
at  the  defences  of  Vicksburg,  with  the  outcome  of  his  campaign  in  doubt,  and  the 
people  of  the  North  impatient  and  distrustful.  The  editor  of  the  Tribune  was 
especially  earnest  and  insistent  in  the  demand  that  his  work  should  be  given  into  other 
hands.  The  President,  who  holds  in  his  hand  a  broom  bearing  Grant's  name,  is  made 
to  say:  "Greeley  be  hanged!  I  want  no  more  new  brooms.  I  begin  to  think  that  the 
worst  thing  about  my  old  ones  was  in  not  being  handled  right." 

Plate  Number  Twenty-two — This  cartoon,  without  title,  was  published  in 
Vanity  Fair,  on  July  4,  1863.  When  Lee  invaded  Pennsylvania  to  meet  defeat  at 
Gettysburg,  the  President  called  upon  the  States  of  New  York,  Pennsylvania,  Mary 
land  and  West  Virginia,  for  120,000  men,  for  temporary  use,  and  they  were  promptly 
supplied  him.  The  design  under  review,  in  happy  keeping  with  the  day  upon  which 
it  was  issued,  showed  Lincoln  holding  aloft  a  flag  and  calling  for  volunteers,  who  are 
flocking  to  him  from  every  side.  This  was  the  last  time  he  was  cartooned  in  Vanity 
Fair.  A  week  later  that  journal  ceased  to  exist. 

Plate  Number  Twenty-three — This  cartoon,  "Rowdy  Notions  of  Eman 
cipation,"  published  in  Punch,  on  August  8,  1863,  has  for  its  subject  the  lamentable 
draft  riots  in  New  York  City.  A  gang  of  rioters  are  shown  beating  one  negro  and 
another  lies  prostrate  on  the  ground,  while  President  Lincoln  stands  at  one  side,  dis 
mayed  but  apparently  unwilling  to  put  an  end  to  the  foul  work  going  on  at  his  elbow. 
Here  Punch's  artist  is  once  more  needlessly  and  manifestly  unjust,  for  if  any  one  deserved 
censure  for  the  excesses  of  the  draft  riots,  Horatio  Seymour,  then  Governor  of  New 
York,  not  Lincoln,  was  the  man  upon  whom  the  whip  should  have  fallen. 

Plate  Number  Twenty-four — This  cartoon,  "  Extremes  Meet,"  was  pub- 
lishedin  Punch,  on  October  24,  1868.  The  Polish  insurrection  was  then  in  progress, 
and  the  American  President  and  the  Russian  Czar  are  depicted  triumphantly  clasping 
hands  in  the  foreground  of  an  impressive  picture  of  rapine  and  desolation.  The  result 
sought  by  the  artist  is  made  clear  in  the  appended  dialogue : 

10 


ABE — Imperial  son  of  Nicholas  the  Great, 
We  air  in  the  same  fix,  I  calculate, 
You  with  your  Poles,  with  Southern  rebels,  I, 
Who  spurn  my  rule  and  my  revenge  defy. 
ALEX — Vengeance  is  mine,  old  man  ;  see  where  it  falls. 
Behold  yon  hearths  laid  waste,  and  ruined  walls, 
Yon  gibbets,  where  the  struggling  patriot  hangs, 
Whilst  my  brave  myrmidons  enjoy  his  pangs. 

The  Polish  insurrection,  then  in  progress,  furnishes  the  motive  of  this  cartoon, 
which  serves  to  recall  the  good  will  shown  by  Russia  for  the  Union,  when  it  stood 
without  other  friends  among  the  nations.  How  substantial  was  this  good  will  furnishes 
the  cue  to  a  chapter  in  our  history  which  yet  remains  to  be  written.  A  part  of  this 
chapter  the  writer  once  had  from  the  lips  of  the  late  Simon  Cameron,  of  Pennsylvania. 
Just  before  General  Cameron  went  to  Russia  as  American  Minister  in  the  early  part 
of  1 862  he  was  charged  with  a  secret  commission.  He  was  directed,  upon  the  presenta 
tion  of  his  letters  to  the  Russian  Chancellor  in  St.  Petersburg,  to  say  that  President 
Lincoln  asked  that  the  Minister  might  have  a  personal  and  confidential  interview  with 
the  Czar.  If  this  was  accorded  he  should  say  to  the  Czar  that  the  President  was 
troubled  about  the  possibility  of  interference  by  England  or  France  in  behalf  of  the 
Confederacy,  and  that  if  the  friendship  of  Russia  was  such  as  to  justify  the  monarch  in 
conveying,  confidentially,  any  intimation  of  his  feelings  and  attitude  in  such  a  con 
tingency,  the  President  would  be  grateful.  The  interview  was  accorded,  the  message 
was  delivered  and  the  answer  was  cordial,  and  in  about  these  words  :  "  The  friendship 
of  Russia  for  the  United  States  has  long  continued,  and  is  such  as  to  justify  the  Presi 
dent's  request.  The  reply  of  Russia  is  ready.  You  will  convey  to  Mr.  Lincoln  my 
personal  regards,  and  say  that  the  danger  of  interference  by  any  European  nation  is 
exceedingly  remote ;  but  in  that  improbable  contingency,  or  upon  the  appearance  of 
real  danger  of  it,  the  friendship  of  Russia  for  the  United  States  will  be  made  known  in 
a  decisive  manner,  which  no  other  nation  will  be  able  to  mistake." 

This  message  was  duly  reported  to  the  President.  How  the  Czar  kept  his 
promise  came  out  in  an  interview  which  he  granted  in  1879  to  Wharton  Barker,  for 
many  years  Russian  financial  agent  in  America.  He  said  to  Barker:  "In  the  autumn 
of  1862  France  and  England  proposed  to  Russia  in  formal  (but  not  in  official)  way,  the 
joint  recognition  by  European  nations  of  the  independence  of  the  Confederate  States. 
My  immediate  answer  was:  'I  will  not  cooperate  in  such  action,  and  I  will  not 
acquiesce; but,  on  the  contrary,  I  shall  accept  recognition  of  the  independence  of  the 

ii 


Confederate  States  as  a  casus  belli  for  Russia,  and  that  the  governments  of  France  and 
England  may  understand  that  this  is  no  idle  threat,  I  will  send  a  Pacific  fleet  to  San 
Francisco  and  an  Atlantic  fleet  to  New  York.'  Sealed  orders  were  given  to  both 
admirals.  My  fleets  arrived  at  the  American  ports,  there  was  no  recognition  of  the 
independence  of  the  Confederate  States  by  England  and  France,  the  American  rebellion 
was  put  down  and  the  great  American  republic  continues.  All  this  I  did  because  of 
love  for  my  own  dear  Russia.  I  acted  thus  because  I  understood  that  Russia  would 
have  a  more  serious  task  to  perform  if  the  American  republic,  with  advanced  industrial 
development,  was  broken  up  and  England  left  in  control  of  most  branches  of  modern 
industrial  development." 

It  was  England's  warm  resentment  of  Russia's  attitude  that  prompted  the  cartoon 
under  consideration.  Even  more  pronounced  in  its  mocking  cynicism  was  Punch's 
cartoon  for  November  7,  1863.  The  tacit  alliance  between  Russia  and  the  United 
States  still  grated  upon  English  sensibilities,  and  the  artist  provoked  the  multitude  to 
laughter  by  depicting  the  President  as  Mephistopheles  saluting  the  Russian  bear. 
Hard  things  in  plenty  were  said  of  Lincoln,  both  at  home  and  abroad,  but  this  is  the 
only  instance  in  which  he  was  portrayed  in  Satan's  livery.  British  malice  could  go  no 
further  than  this. 

Plate  Number  Twenty-five — This  cartoon,"  Drawing  Things  to  a  Head," 
published  in  Harper's  Weekly,  on  November  28,  1863,  shows  how  the  friendship  of 
Russia  was  regarded  in  the  loyal  States.  Lincoln,  ensconced  in  a  snug  apothecary  shop, 
watched  from  the  opposite  side  of  the  street  by  John  Bull  and  Napoleon,  is  made  to 
say  to  Secretary  Seward,  who  is  presented  as  an  errand  boy  with  a  basket  of  Russian 
salve  on  his  arm  :  "Mild  applications  of  Russian  salve  for  our  friends  over  the  way, 
and  heavy  doses  and  plenty  of  it  for  our  Southern  patient." 

Plate  Number  Twenty-six — This  cartoon,  "  This  Reminds  Me  of  a  Little 
Joke,"  published  in  Harper  s  Weekly,  on  September  17,  1864,  recalls  the  extraordinary 
Presidential  campaign  of  that  year.  There  was,  during  the  opening  months  of  1864,  a 
determined  and  more  or  less  noisy  opposition  to  the  renomination  of  Lincoln.  This 
came  from  two  sources — the  radical  abolitionists,  who  chafed  at  what  they  called  the 
President's  half-hearted  policy  in  regard  to  slavery,  and  another  element,  which,  while 
supporting  the  Union,  believed  that  slavery  should  be  let  alone ;  but  it  shrank  into 
insignificance  as  time  went  on,  and  when  the  Republican  Convention  met  at  Baltimore 
on  June  7,  Lincoln  was  renominated  on  the  first  ballot.  The  Democratic  National 
Convention  was  held  twelve  weeks  later  in  Chicago.  A  few  days  before  it  met  Presi- 

12 


dent  Lincoln  said  to  a  friend:  "  They  must  nominate  a  peace  Democrat  on  a  war  plat 
form,  or  a  war  Democrat  on  a  peace  platform."  The  convention  chose  the  second  of 
these  alternatives.  It  adopted  a  platform  which  declared  the  war  a  failure  and  demanded 
an  immediate  cessation  of  hostilities,  and  it  nominated  for  President  the  best  known  of 
all  the  war  Democrats,  General  George  B.  McClellan.  The  latter's  chances  of  election, 
whatever  they  may  have  been,  disappeared  within  a  fortnight  of  his  nomination.  The 
course  of  the  war  during  the  summer  had  been  studded  thickly  with  bloody  and  seem 
ingly  indecisive  battles.  Both  in  the  East  and  the  West  the  opposing  armies  were 
grinding  in  almost  continuous  struggle.  But  Sherman's  capture  of  Atlanta  and  Farra- 
gut's  entrance  into  Mobile  harbor,  proved  to  the  people  of  the  North  that  the  end 
was  in  sight,  and  when  the  President  called  for  five  hundred  thousand  more  men  they 
came  forward  rapidly,  a  large  and  valuable  percentage  of  them  being  volunteers  who 
had  served  their  time  under  previous  enlistments.  Long  before  election  day  it  was 
evident  that  no  prospect  remained  of  Democratic  success.  When  the  polls  were  closed 
and  the  votes  counted,  Lincoln's  enormous  popular  majority  of  more  than  400,000 
fairly  buried  the  McClellan  electoral  tickets.  Kentucky  and  Delaware,  with  New 
Jersey,  testified  their  disgust  with  Emancipation,  but  they  were  of  small  account 
in  an  electoral  college  of  233  votes,  wherein  212  were  solidly  against  them. 

Plate  Number  Twenty-seven — This  cartoon,  "The  American  Brothers; 
or,  How  Will  They  Get  Out  of  It,"  was  published  in  Punch  on  November  5,  1864. 
It  has,  in  the  light  of  after  events,  a  touch  of  humor  not  intended  by  the  artist.  When 
it  was  drawn,  the  belief  was  generally  prevalent  in  England  that  Lincoln's  defeat  at  the 
coming  election  was  a  foregone  conclusion.  Thus,  this  cartoon  pictures  Lincoln  and 
Davis  bound  to  adjacent  benches  by  ropes,  significantly  labelled  "Debts,"  but  it  was 
still  wet  from  the  press  when  Lincoln,  as  we  have  just  seen,  was  re-elected  by  the 
largest  majority  in  the  electoral  college  ever  given  to  a  candidate. 

Plate  Number  Twenty-eight — This  cartoon,  "Long  Abraham  Lincoln  a 
Little  Longer,"  published  in  Harper's  Weekly,  on  November  26,  1864,  tells  its  own 
story  and  bears  witness  to  the  joyful  relief  with  which  the  people  of  the  North  greeted 
the  re-election  of  Lincoln.  Very  like  the  foregoing  in  spirit  and  treatment  (and  for 
that  reason  not  reproduced  in  this  place)  is  a  cartoon  published  in  Frank  Leslie's  Illus 
trated  Newspaper  on  December  3,  1864.  It  bears  title,"Jeff  Davis'  November  Night 
mare,"  and  places  the  President,  with  legs  drawn  up,  on  the  bed  of  the  Confederate 
leader.  "Is  that  you  still  there,  Long  Abe?"  asks  the  suddenly  awakened  man. 
"Yes,  and  I  am  going  to  be  four  years  longer,"  is  the  reply. 

'3 


Plate  Number  Twenty-nine — This  cartoon,  "The  Federal  Phoenix,"  was 
published  in  Punch,  on  December  3,  1864.  Its  character  is  explained  in  its  title,  and 
it  shows  one  of  those  fabled  birds,  on  which  the  artist  has  placed  the  head  of  Lincoln, 
rising  from  a  pyre,  the  fuel  for  which  is  furnished  by  commerce,  credit,  the  Constitu 
tion,  a  free  press,  habeas  corpus  and  State  rights.  How  it  impressed  the  public  for 
whom  it  was  intended  can  only  be  conjectured,  but  to  the  eyes  of  an  American,  a  gene 
ration  after  the  death  of  the  man  whom  it  thus  held  up  to  condemnation,  it  seems  as 
brutal  in  motive  as  it  is  misleading  in  fact. 

Plate  Number  Thirty — This  cartoon,  "The  Threatening  Notice,"  published 
in  Punch,  on  February  26,  1865,  represents  Lincoln  remonstrating  with  the  American 
eagle  in  the  dress  of  Uncle  Sam  over  the  Senate's  proposed  abrogation  of  Canadian 
treaties.  "Now,  Uncle  Sam,"  the  President  is  reported  as  saying,  "you're  in  a  darned 
hurry  to  serve  this  notice  on  John  Bull.  Now,  it's  my  duty  as  your  attorney,  to  tell 
you  that  you  may  drive  him  to  go  over  to  that  cuss,  Davis."  But  John  Bull  was  not 
to  be  driven  "  over  to  that  cuss,  Davis."  Two  months  later  the  war  was  ended,  and 
Lincoln  dead.  Punch  has  caricatured  him  for  the  last  time. 

Plate  Number  Thirty-one — This  cartoon,  "From  Our  Special  War  Cor 
respondent,"  was  published  in  Harper  5  Weekly,  on  April  15,  1865.  Lincoln,  who  had 
lately  made  his  last  visit  to  the  front,  was  represented,  with  a  drumhead  for  a  table, 
writing  from  City  Point,  Virginia:  "All  seems  well  with  us."  These  words,  in  the 
light  of  after  events,  are  not  without  a  touch  of  pathos.  When  the  journal  in  which 
they  appeared  reached  its  readers,  Booth's  bullet  had  done  its  work  and  Lincoln  had 
become  the  gentlest  memory  in  our  history. 

Plate  Number  Thirty-two — This  cartoon,  "Britannia  Sympathizes  with 
Columbia,"  published  in  Punch,  on  May  6, 1865,  testifies  to  the  world-wide  grief  which 
attended  the  death  of  the  great  war  President,  and  shows  how  strong  had  become  his 
hold  upon  all  men  who  love  brave  deeds  and  honest  lives.  Britons  had  not  hesitated 
to  criticise  and  upbraid  him  living,  but  dead  they  were  quick  to  recognize  him  as  the 
noblest,  knightliest  figure  of  an  age  rich  above  all  things  else  in  the  number  and 
grandeur  of  its  great  men. 

It  has  been  impossible  to  trace  the  authorship  of  most  of  the  cartoons  herewith 
reproduced  from  Harper's  Weekly  and  Frank  Leslie  s  Illustrated  Newspaper,  but  three 
of  them,  at  least,  are  known  to  be  from  the  pencil  of  the  elder  Frank  Bellew,  an  English 
artist  who  came  to  this  country  to  embark  with  John  Brougham  in  the  publication  of  a 
short-lived  weekly,  called  the  Lantern,  later  helping  to  found  half  a  dozen  other 


periodicals.  Bellew  had  cleverness  and  versatility,  and  a  rich  vein  of  humor,  as  the 
drawings  "Sinbad  Lincoln  and  the  Old  Man  of  the  Sea,"  "Lincoln's  Last  Warning" 
and  "  Long  Abraham  a  Little  Longer"  bear  witness,  but  he  failed  to  achieve  complete 
success  in  his  work,  and  left  no  impress  upon  the  political  thought  of  his  time. 

The  designer  of  a  majority  of  the  cartoons  reproduced  from  Vanity  Fair,  which, 
between  1859  and  1863,  ran  a  checkered  but  lively  existence,  was  the  late  Henry  Louis 
Stephens,  a  man  of  fertile  and  incisive  wit,  with  unusual  ability  to  enforce  a  pictorial 
moral  by  simple  yet  telling  methods.  For  a  brief  period  Mr.  Stephens's  attitude  toward 
Lincoln  seems  to  have  been  touched  by  the  not  always  good-natured  suspicion  with 
which  the  public  regards  a  new  and  comparatively  untried  man ;  but  no  sooner  had 
Sumter  been  fired  upon  than  the  artist  and  his  journal  became  ardent  and  unswerving 
in  their  support  of  the  Union,  and  so  continued  until  the  end.  Stephens's  drawings, 
though  somewhat  crude  and  faulty  in  method,  are,  nevertheless,  notable  for  their  origi 
nality  and  force.  He  lacked,  however,  either  the  inclination  or  the  opportunity  to  con 
tinue  in  the  field  for  which  he  had  shown  so  marked  an  aptitude,  and  long  before  his 
death,  in  1883,  he  had  fallen  into  obscurity. 

All  of  the  cartoons  reproduced  from  London  Punch  are  from  the  pencil  of  Sir 
John  Tenniel,  who,  in  1901,  concluded  half  a  century  of  brilliant  service  on  that  jour 
nal.  Tenniel  was  already  an  artist  of  repute  when  he  joined  the  staflFof  Punch  in  1851, 
and  for  many  years  preceding  his  self-sought  retirement  he  was  recognized  as  incom 
parably  the  greatest  caricaturist  of  his  time — his  pencil  a  force  to  be  taken  into  account 
by  sagacious  statesmen  in  every  forecast  of  the  drift  of  public  opinion.  His  range  is 
not  a  wide  one,  yet  within  its  clearly  defined  limits  he  is  nearly  always  powerful. 
Although  his  methods  are  usually  simple,  through  them  he  secures  signal  breadth  and 
strength,  while  now  and  then  he  gives  an  impression  of  power  such  as  one  fancies  an 
Angelo  might  have  given  had  he  amused  himself  by  drawings  reflecting  upon  the  poli 
tics  of  his  time.  If  there  was  any  doubt  in  official  minds  respecting  the  necessity  of 
sending  an  army  to  the  rescue  of  Khartoum,  it  vanished  when  Tenniel  drew  his  picture 
of  General  Gordon  standing  behind  an  earthwork  and  looking  across  the  desert  for  a 
glimpse  of  the  expected  redcoats.  That  touched  the  heart  of  England,  and  was  more 
potent  than  the  fiercest  denunciation  from  the  Opposition  bench  of  the  Gladstone 
ministry's  inaction  in  the  Soudan. 

Tenniel  is  first  of  all  a  satirist,  but  he  has  seldom  been  either  unjust  or  unfair  in 
his  work.  His  longest  and  most  memorable  departure  from  fairness  was  when,  in  com 
mon  with  the  ruling  class  of  England  generally,  he  misinterpreted  our  Civil  War  and 
caricatured  the  chief  actor  therein  with  astonishing  perversity.  Still,  he  was  not  more 
frequently  or  more  deeply  in  the  wrong  than  some  of  our  own  politicians,  who  could 


not  plead  his  excuse  of  distance  from  the  scene,  and,  to  his  credit,  be  it  said,  when  once 
convinced  of  his  error  he  made  prompt  and  generous  amends  therefor.  Nothing  could 
have  been  more  fitting  nor  finer  in  its  way  than  his  design,  already  referred  to,  which 
showed  Britannia  laying  a  wreath  on  the  bier  of  the  martyred  President  and  which  was 
accompanied  by  these  appreciative  lines  from  the  pen  of  Tom  Taylor: 

Tou  lay  a  wreath  on  murdered  Lincoln's  bier, 

Tou,  who  with  mocking  pencil  wont  to  trace, 

Brood  for  the  self-complacent  British  sneer, 

His  length  of  shambling  limb,  his  furrowed  face, 

His  gaunt,  gnarled  hands,  his  unkept,  bristling  hair, 

His  garb  uncouth,  his  bearing  ill  at  ease, 
His  lack  of  all  we  prize  as  debonair, 

Of  power  or  will  to  shine,  of  art  to  please. 

You,  whose  smart  pen  backed  up  the  pencil's  laugh, 
Judging  each  step  as  though  the  way  were  plain  ; 

Reckless,  so  it  could  point  its  paragraph, 
Of  chief's  perplexity,  or  people's  pain. 

Beside  this  corpse  that  bears  for  winding  sheet 
The  stars  and  stripes  he  lived  to  rear  anew ; 

Between  the  mourners  at  his  head  and  feet, 
Say,  scurril  jester,  is  there  room  for  you? 

Yes,  he  has  lived  to  shame  me  for  my  sneer, 

To  lame  my  pencil  and  confute  my  pen — 
To  make  me  own  this  hind  of  princes  peer, 

This  rail-splitter,  a  true-born  king  of  men. 

My  shallow  judgment  I  have  learned  to  rue, 

Noting  how  to  occasion's  height  he  rose; 
How  his  quaint  wit  made  home-truth  seem  more  true, 
How,  iron-like,  his  temper  grew  by  blows. 

How  humble  yet  how  hopeful  he  could  be; 

How  in  good  fortune  and  in  ill  the  same; 
Nor  bitter  in  success  nor  boastful  he, 

Thirsty  for  gold,  nor  feverish  for  fame. 
16 


He  went  about  his  work,  such  work  as  few 

Ever  had  laid  on  head  and  heart  and  hand, 

As  one  who  knows  where  there's  a  task  to  do, 

Man's  honest  will  must  Heaven's  good  grace  command; 

Who  trusts  the  strength  will  with  the  burden  grow, 
That  God  makes  instruments  to  work  His  will, 

If  but  that  will  we  can  arrive  to  know, 

Nor  tamper  with  the  weights  of  good  and  ill. 

So  he  went  forth  to  battle  on  the  side 

That  he  felt  clear  was  Liberty's  and  Right's, 

As  in  his  peasant  boyhood  he  had  plied 

His  warfare  with  rude  Nature's  thwarting  mights; 

The  uncleared  forest,  the  unbroken  soil, 

The  iron-bark  that  turns  the  lumberer's  ax, 

The  rapid  that  o'erbears  the  boatman's  toil, 

The  prairie,  hiding  the  mazed  wanderer's  tracks, 

The  ambushed  Indian  and  the  prowling  bear — 

Such  were  the  deeds  that  helped  his  youth  to  train : 

Rough  culture,  but  such  trees  large  fruit  may  bear, 
If  but  their  stocks  be  of  right  girth  and  grain. 

So  he  grew  up,  a  destined  work  to  do, 

And  lived  to  do  it ;  four  long-suffering  years' 
Ill-fate,  ill-feeling,  ill-report,  lived  through, 

And  then  he  heard  the  hisses  changed  to  cheers, 

The  taunts  to  tribute,  the  abuse  to  praise, 

And  took  both  with  the  same  unwavering  mood; 
Till,  as  he  came  on  light,  from  darkling  days, 

And  seemed  to  touch  the  goal  from  where  he  stood, 

A  felon  hand,  between  the  goal  and  him, 

Reached  from  behind  his  back,  a  trigger  prest, 

And  those  perplexed  and  patient  eyes  were  dim, 

Those  gaunt,  long-laboring  limbs  were  laid  to  rest! 

»7 


The  words  of  mercy  were  upon  his  lips, 

Forgiveness  in  his  heart  and  on  his  pen, 

When  his  vile  murderer  brought  swift  eclipse 

To  thoughts  of  peace  on  earth,  good  will  to  men. 

The  Old  World  and  the  New,  from  sea  to  sea, 
Utter  one  voice  of  sympathy  and  shame ! 
Sore  heart,  so  stopped  when  it  at  last  beat  high, 
Sad  life,  cut  short,  just  as  its  triumph  came. 

A  deed  accurst !     Strokes  have  been  struck  before 
By  the  assassin's  hand,  whereof  men  doubt 

If  more  of  honor  or  disgrace  they  bore; 

But  thy  foul  crime,  like  Cain's,  stands  darkly  out. 

Vile  hand,  that  brandest  murder  on  a  strife, 

Whate'er  its  grounds,  stoutly  and  nobly  driven; 

And  with  the  martyr's  crown  crownest  a  life, 
With  much  to  praise,  little  to  be  forgiven. 


PLATE   NUMBER   ONE 

Lincoln  a  la  Blondin 


PLATE   NUMBER   TWO 
The  Inside    Track 


w 
w 

°*      5 

X      a 

^ 


3Q  ^. 

s  ^ 

D  -So 

z  s: 

W  g§ 

h  t- 


5M 


PLATE   NUMBER    FOUR 
Winding  Off  the  Tangled  Skein 


PLATE    NUMBER   FIVE 
The  Spirit  of  '76 


PLATE    NUMBER   SIX 

The   Situation 


PLATE    NUMBER   SEVEN 
Got  the  Right  Weapon  at  Last 


PLATE    NUMBER   EIGHT 

Without   Title 


PLATE    NUMBER    NINE 
a   Tree — Colonel  Bull  and  the  Yankte  Coon 


PLATE    NUMBER   TEN 

Sinbad  Lincoln  and  the  Old  Man  of  the  Sea 


PLATE    NUMBER    ELEVEN 

The  New  Orleans  Plum 


PLATE   NUMBER    TWELVE 

The  Latest  from  America 


PLATE    NUMBER    THIRTEEN 
The  Overdue  Bill 


PLATE   NUMBER   FOURTEEN 
What  will  He  do  with  Them? 


PLATE    NUMBER    FIFTEEN 
Lincoln's  Last  Warning 


PLATE    NUMBER    SIXTEEN 
Keep  on   the    Track 


w 
w 

h 
z 
w 


a: 


D 
Z 

W 


PLATE    NUMBER    EIGHTEEN 
Universal  Advice  to  Abraham — Drop  'Em 


r"\\    /'.'   -"      § 


CQ 

=   1 

Si 

h     5 


PLATE    NUMBER   TWENTY 

Without  Title 


W 
Z 

o 


w    -5 


p 

SK 

w 


PLATE    NUMBER    TWENTY-TWO 
IVithout  Title 


6,,-w- 


w 
w 


h    . 

£     S 

w 


fti    5 
a    -s 


>— '  •§* 

*  i 

w  ^ 

h 


OH 
D 

O 


h 
£ 


CQ 

s 

D 
Z 

w 
h 


w 


u, 

" 


-5 


oa 

S 

B 


PLATE    NUMBER   TWENTY-SIX 

This  Reminds  Me  of  a  Little  'Joke 


w 
> 

w 


-        B 


33 


w 


PLATE    NUMBER    TWENTY-EIGHT 
Long  Abraham  Lincoln  a  Little  Longer 


PLATE   NUMBER   TWENTY-NINE 

The  Federal  Phcenix 


PLATE    NUMBER   THIRTY 

The  Threatening  Notice 


1  1 

>1  1 

§  r 

K  c3 


, 
oc    -2 


34 

a. 


o 

h    's 


« 

£  1 
s   t- 


_ 
h 

£ 


01618 


AN  INITIAL  FINE  OF  25  CENTS 

OVERDUE. 


LD  21-100m-7,'40(6936s) 


I 


